THANGKA OF BUDDHA AMITAYUS AND 108 BUDDHAS
Tibet | 17th/18th c. |Colors and gold on fabric, framed with Chinese silks | 78 x 57cm | 375th Sale "Asian Art" at 9 June 2016 | Estimate: € 25.000-35.000
Tibet. 17th/18th c. Colors and gold on fabric, framed with Chinese silks. Amitayus is the visible form of Buddha Amithâba. With his both hands he holds the amrita receptacle with the nectar of immortality. His mandorla is surrounded by leafy twigs with white flowers amids which 108 (here 110) smaller depictions are sitting.
Arabella Drummond. Pirat and Fire Artist, 2013 From the series Bonkers – A Fortnight in London Chromogenic Print 39 2/5 × 39 2/5 in 100 × 100 cm Edition of 5
SHIRO KURAMATA Miss Blanche chair Ishimaru Co., Japan Japan, 1988 / 1989 acrylic, artificial roses, anodized aluminum 24¾ w x 20¼ d x 36¾ h in (63 x 51 x 93 cm) estimate: $250,000–350,000 This work is number 37 from the edition of 56. provenance: Mrs. Mieko Kuramata, Kuramata Design Office, Tokyo | Private Collection, Tokyo literature: Shiro Kuramata: Essays and Writings, Sudjic, ppg. 77, 104-105 Shiro Kuramata: Catalogue of Works, Sudjic, no. 541, pg. 362 Shiro Kuramata 1934-1991, Hara et al., ppg. 187, 192 Shiro Kuramata and Ettore Sottsass, 21_21 Design Sight exhibition catalog, pg. 68 for a drawing, ppg. 69, 208, 211
American, 1928–2011
Although his work resonates strongly with generations of younger artists, ranging from Brice Marden to Richard Prince to Tacita Dean to Patti Smith, it has a general propensity to polarise its audience between perplexity and unbridled admiration. (Remember the incident in summer 2007 of a woman planting a lipstick kiss on a Twombly canvas on show in Lyon?) Additionally, the critical and historical reception has seemed to describe two Twomblys – one about form, the other about content.
Some writers have concentrated on the materiality of the artist’s mark as aggressive, often illegible graffiti; others have followed the classical allusions to ferret out the references. Two elements might serve as metaphors for the predominant interpretations: the floating disc of white paint labelled “clouds” standing for the poetic and mythological aspects, and the scatological heap of brown paint designating “earth”. However, Twombly’s painterly palimpsests trace the progressions through which form and content, text and image are inextricably linked.
Cy Twombly emerged in the 1950s, developing a characteristic painting style of expressive drips and active, scribbled, and scratched lines. “My line is childlike but not childish,” he once said. “It is very difficult to fake…to get that quality you need to project yourself into the child's line. It has to be felt.”
© ALL ARTWORK CY TWOMBLY FOUNDATION
Although often associated with both Pop Art and Abstract Expressionism, Jim Dine did not identify with a specific movement, producing a vast oeuvre of paintings, drawings, works on paper, sculpture, poetry, and performances. Emerging as a pioneer (together with Allan Kaprow, Claes Oldenburg, and Robert Whitman) of New York’s Happenings of the 1960s, Dine would carry the spontaneous energy of this movement throughout his style, which emphasized the exploration of everyday life. Personally significant objects were Dine’s primary motifs, as in his iconic series of hearts and robes. He championed a return to figuration after a period of more concept-dominated works, and is considered an important figure in Neo-Dada and a forerunner of Neo-Expressionism. “The figure is still the only thing I have faith in in terms of how much emotion it’s charged with and how much subject matter is there,” he once said.
American, b. 1935, Cincinnati, Ohio, based in New York, Paris and Walla Walla, Washington
I was following Matte’s art since 2009, and I have to say I am still amazed and amused every time he’s showing a new painting. They have all the jazz and coffee, and you can admire a few selections right here. For more paintings you can visit his website here: matteart.blogspot.com
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